The fantastic featured bit on the accenting aside, in the full video he breaks down a possible model for the way Shakespeare played with iambic pentameter. He t

The fantastic featured bit on the accenting aside, in the full video he breaks down a possible model for the way Shakespeare played with iambic pentameter. He turns it almost in to sheet music; you know the time signature by way of the meter, and any difference between the expected notes (syllables) and actual notes are almost as on to rests; pauses in the music that the actors may fill with other means of communication. But fascinatingly, instructed pauses, communicated by the writer, rather than the director or the actor. I find this absolutely fascinating; the amount of extra information and nuance and immense complexity that a few simple rules and constraints over a system can generate. If we take this model to be true, suddenly the communication becomes that much clearer, and that much more concise, both between the writer and his players, and the players and their audience, and the by proxy again the writer. What an excellent presentation.